This episode is about an unfinished relationship getting a second chance so we really wanted to include the two of them in the same frame whenever possible. I love to use a 40mm and back it away from the cast enough to get a wide shot instead of going wider for the lens.
It does something beautiful to the backgrounds. Part of our look is to underexpose by a stop or so and push the ISO, and with the Alexa we could push it way further if we wanted to. Committing to it on set feels great, and having our LUTs from our colorist Dave Hussey at Co3 that were built for it makes it easy.
Format: Full frame 4. Greig Fraser: Traditionally, Star Wars films have mostly been shot 2. Add to that, our reference films from the past [were] westerns and samurai films — [and they] often were the same. The worlds we are creating are larger than life, yet need to feel grounded in reality. Adriano Goldman: We shot Seasons 1 and 2 on rehoused Cooke Panchros, I wanted to welcome a new cast with different lenses. I love the Super Speeds, they are really soft and fast, really deliver an amazing period look without being too glossy or romantic.
We wanted to modernize the look a little bit on Season 3, challenge our own standards, keep evolving. Changing the entire cast is a bold decision and we felt that the show should adapt to a more modern era. Format: 3. David Mullen: The Alexa image tends to be gentle and film-like, not too harsh nor electronic, which helps us maintain a subtle period look. The Primo lenses also are sharp with minimal flaring, but not too harsh we use Schneider Hollywood Black Magic diffusion as well.
The Alexa Mini body is light enough to use on a Steadicam and MoVI, and small enough to handle the tight locations or crowded rooms we find ourselves in sometimes. Format: Redcode RAW. The camera uses an 8k RED Helium sensor. The majority of the show was shot using only three focal lengths, the 29mm, 40mm and 65mm.
We wanted the storytelling to be very objective and simple with a limited use of POV. I think limiting ourselves to these focal lengths forced us to be meticulous with our coverage. All of our visual choices revolved around camera direction, blocking, and composition.
David [Fincher] and I built the visual language around three distinct types of shots; wide masters, overs and singles; we moved the camera very little. This type of methodical camera direction lead to the rhythmic cutting sequence of the interview scenes which is really the visual foundation of the show. Format: 5. Ben Kutchins: This season we leapt headfirst into creating an expansive world for the Byrde family, building something with even more depth and scope than previous seasons.
There is some magic there; a great cinematic feel where a medium shot of an actor feels like a wide landscape shot. Every frame has the potential to become a layered tapestry. In switching formats, I also wanted to explore using an extremely shallow depth of field to show how the Byrde family has become so fractured and isolated, from the outside world, but most tragically, from one another.
I thought this was the perfect use of this lens, to help tell this story of a family falling further and further out of clarity from one another. The rest of the Leicas we used, especially the Leica Rs have a great creamy quality to them, with lots of unique characteristics and imperfections. Format: RAW at 5. The increased ambitions of the Byrde family begged to be captured on the larger canvas of a full frame sensor camera.
The Venice has a cooler sensor with a bit more snap to the blacks, which paired well with the more vintage lenses. The fall-off and imperfections in the older glass up close to the actors made for engaging portraiture that was gentle on the faces while maintaining a sense of dread and mystery in the image. Jeff Cronenweth: The goal of the visual style was to create a classic feel in texture and tonality to contrast the story line: A grounded and nuanced foundation while reality was questioned.
Our story revolves around a little girl who finds herself abandoned and alone in the world, the large format combined with the 70mm glass afforded us the ability to keep her very present while she is absorbed in the vastness of her world, and more importantly, to manipulate depth of field to appreciate her isolation and fear.
The bouquet and inherent aberrations in the Panaspeeds were the perfect combination color, speed, and resolution. Paul Cameron: This year we explored the idea of Digital Capture to enhance the futuristic visual elements of the show. After significant testing, Jonathan Nolan and I returned again to shoot 35mm Film. Simply put, once you look at side-by-side closeups on the big screen, there is nothing more emotional and powerful than film. We agreed for some night wide shots and aerials in Singapore and Los Angeles we would utilize the iso mode on Sony Venice.
Having depth in night urban landscapes was important for VFX to extend the night hybrid city. A key element director Morten Tyldum emphasized in our first meeting was point of view. A critical difference that Morten wanted to distinguish was how the audience saw Jacob.
For this, we covered Jacob more objectively from a distance. But when we did come in for a close-up, it was to capture another powerfully ambiguous performance by Jayden. Since much of the drama would be captured through intimate close-ups, we felt the choice of glass was essential. We were drawn to anamorphic, specifically because its bokeh the out of focus part of the frame created a skewed backdrop for their close-ups, subtly depicting their fracturing world.
It also softened the digital sharpness, and most importantly, looked cinematic. Panavision was instrumental, putting our package together in a short amount of time. And Apple was very supportive, ensuring we kept our vision while also delivering the highest-quality image. To translate his ideas to the screen is a joy, and always begins with an open palette. Our creative conversations were motivated only by what was on the page and how to translate it.
Alex and I share the same taste. Pre-production was about creating the world with a degree approach, which allowed the actors and the camera widespread freedom. Ultimately, this meant the lighting was integral to the set, takes were long and the camera choreography developed as we shot. I choose lenses based on how they react to lighting. The C Series lenses are beautiful, elegant and possess a classical look without being distracting.
They suit my style of lighting, which predominantly utilizes soft tungsten light. The reaction between the glass and the soft gauze texture of the light is stunning. This was my first experience shooting a limited series for television and my approach was no different than when I shoot a movie. My lens, camera and lighting choices are always based on how best to tell the story. FX were incredibly supportive, giving us full creative freedom.
Martin Ahlgren: One of the key aesthetic choices we made was the use of deep focus, allowing us to create levels of depth in the frame, and giving the viewer an opportunity to scan the image and find different areas of interest. We achieved this in part by using a smaller portion of the sensor, which increases depth of field for the same field of view. We windowed the sensor to 3K, making it just 18mm across, which is right in between the size of Super35 and Super The other factor in achieving deep focus is using a small aperture on the lens.
The extremely shallow focus of those images stand in stark contrast to the deep focus look of the rest of the show. We liked the idea of using vintage glass to add some patina to the images, but many older lenses actually start performing quite normally once you stop them down significantly, like we did.
We just had to watch out: in some brightly backlit scenes, with the lens all the way stopped down, we would occasionally see the actual metal iris blades inside the lens reflected onto our image, and in sharp focus. These were very useful for distorting foreground objects. Selective focus and split focus shots were used to echo the ability in graphic novels to compose in depth but with deep focus. We occasionally used some mirrors and pieces of glass prisms close to the lens to create reflections to add to compositions.
The whole camera team really embraced looking for opportunities to add all these as we shot. Xavier Grobet: We used the Alexa Mini for its versatility and size and also had in our gear a Ronin stabilizer. The Mini was the right camera for that kind of rig and the Ronin was used instead of Steadicam for extra stability. We also rigged it on a shock absorbing rig on a Dolly and were able to roll the camera on mostly any kind of surface. The choice of lenses reflected our desire for contrast and color.
The Anamorphic and the tilt and swing lenses helped us play with the visuals and be able to enhance certain shots or scenes. We designed the show based on the graphic novel, as a lot of it had to do with perspective and volume in the frame. We wanted to be able to choose the focus in the frame, and use the aberrations and lens flares from the anamorphic lenses. How to Watch the Democratic National Convention.
Sign up for Indiewire's Newsletter. For the latest news, follow us on Facebook , Twitter , and Instagram. The prosecutor overseeing the tax investigation tied to Hunter Biden will remain in his post, while the Biden administration asks other U. It is standard practice for a new administration to request the resignation of all U.
John Durham, the U. He confirmed the existence of the investigation in December after federal investigators served him with a subpoena seeking financial information. While Biden is implicated in that investigation, he was not a specific target for criminal prosecution. Has-been punks rule, OK. And why not, since they helped invent the genre? Jeff Dr.
The Ravonettes are getting the big JAMC treatment these days, but this band sounds more like the real deal, taking some of the garage aesthetic out and adding the Spectorish Wall of Sound feedback to the mix that gives these songs layer after layer of blasting sound. I like them at their best when they race through a song at breakneck pace, but when they take the speed down to more normal limits, they've got the ability to get atmospheric and still make it sound good.
I do wish the vocals were a little more upfront at times; they are washed out and down in the mix intentially, so you can barely make out lyrics, but what the hell, I'm a melody and hooks kind of guy, and this is full of both. Like they say on their website, "Killer Rock n Roll". Go back to school Blood for Blood, the original Boston metallic punk thugs are back!
Hard, fast, pissed off, and tough as nails. This is the band that taught Blood For Blood all they know! Their m. Two out of five stars. Originally a band from through , Slaughter and the Dogs re-formed for one of the British Holidays In The Sun festivals in the mids, and did a tour of the U. The sound is great, and the performance of the songs seem perfectly fine.
Like a lot of punk bands from any era, they had a couple of good songs and a lot of forgettable ones. Their signature song, and one of the very first U. Jesse TKO, W. Cary St. Although they sound like a bedroom band, the artwork appears to show them recording in a studio. Some hard earned money wasted there.
The songs are all written by the various members, with lead vox from whoever wrote the tune. ST broke up in after almost 8 years together. Mia Schoen, who also played in the excellent band Huon has gone on to a solo album. For the lucky folks who discovered ST they were a unique pop band who will be missed.
Any band that can take their roots and love of pure country and fix it up with hot rock and a goofy attitude gets a few nods from me. I had a great time with these three boys and want to highly recommend checking this out. Some punk, some twang, and a whole lot of good cheer. But it seems that we have found one. Yee haw!!! Liberally steeped in folk-rock root broth, with rather charming vocals and harmonies, very much in the tradition of thoughtful jangle merchants of the near past.
You can almost see the fringes of their buckskin jackets as they play. They, at first, seem inimical of My Bloody Valentine et al with their layered guitar work and foggy vocals. But, as the record progresses, think more along the lines of early Primal Scream and maybe good smattering of Spiritualized, perhaps even Stone Roses and Ride during the guitar-oriented parts.
So if that stuff floats your boat, give this band a try. Scott www. But after the first few songs, it gets self-indulgent and slows down into straight ahead riff-oriented power pop. Not bad, but it really lacks the charm of the better power pop mentioned above. Usually funny and slightly offensive, thank goodness! There are a couple catchy songs, but, for the most part, James Rickman and A.
I hit fastforward on most of this. For one, this band wouldn't exist. And even though countless groups have mined the Elliott Smith-Granddaddy soft-indie-pop tunnel, I still find myself following the better ones all the way to the end. But that's not to say Slow Reader are a total Smith rip-off. They just take so many cues from him you'd think they were his understudy.
I'm a sucker for this kind of stuff, so my powerlessness should be a warning to all of you. Slow Reader are trying to get on your good side! Let them earn it, then maybe you'll call them a few days later after the pregnancy test. As a producer the Mad Prof. Aces all around, and splendidly enjoyable listening in the heat of the summer sunshine.
Sly's voice on some of these songs is barely past puberty; high pitched and perfect for the style in the pre-British invasion days, and as you listen to this, you can figure out where the groove started to change and Sly started to figure out how to write some heavy funk bass lines. Larry Graham's funky bass runs deep into the groove through most of the songs, and there are a half a dozen songs on this that were later torn down and rewritten as Family stone songs.
And those aren't even the best tracks on this; it's the great early style soul stuff I really love on here. This is highly recommended for fans of everything from funk, sweet 60's soul, and anyone with any interest in Sly whatsoever.
The band broke up after one major label record, but left behind a bunch of covers that never made it to record previously. Frankly, I don't much care who wrote the songs, I'm just happy to hear Josh's voice on just about anything. His latest band, Duvall, is also quite good, but there's something special about the original lineup of the Popes that makes these songs shine in pop punk glory. At one point they dip into pretty simplistic right wing one-liners, e. If not beginning-to-end consistent there is some quality tuneage on here.
Credit must be given to Snapcase: these guys have been rough and tumble from day one, never broke through, stick to their politics, and have evolved ever-so-slightly enough that people still buy the new record. Well, young males with anger management issues still buy the new record.
And still go to the shows and do the whole wild flinging of limbs thing and fight in the parking lot. Not that Snapcase has ever vocally endorsed that behavior, just implicitly through pounding away and the screamy rah-rah vocals. Unlike certain other jokers no names mentioned of course they were able to rise above being a mere puerile-joke band. The opening track of this, "Labor Day" is a fun organ driven number, with multi-tracked vocals leading the way, full of hooks and a Heavenly twee indie feel.
Other songs don't have the same perky energy, but fit well in the cannon of simple indie pop explored by Lois, Sarah Doughter, and Rose Melberg. What really differentiates this are the vocals; as I said, they're multi-tracked, so you have harmonies and doubled up leads that give her voice added strength. This is a fun CD from a talented songwriter and performer.
After last year's MTV-alternative soundalike record, "Animal Farm", Snow Dogs have actually come back with a disc that is not only good--it shows real growth. Sure, it's still somewhat watered down, like indie guys trying to punk out. But credit where credit is due. The tunes are tighter, tougher and better.
No true punk fan is going to enjoy this, but indie folks who like their music with a slight edge should be pleased. Mark Victory, N. Very similar attack to be sure - muzzy, gauzy sheets of guitars, sweet harmonious vocals fighting to be heard above the six-string squall, the whole bit. In its way rather enjoyable and worthy of the old A for Effort, but nothing to motivate me into taking down my Mark Gardiner posters, at least not before hearing his new solo stuff.
But this trio of Aussies no wonder they like rugby acquits itself well on this four-song EP. Singer Nick Wilson sounds a little like Paul Westerberg on the very cool title track. Very nice stuff. Perhaps co-producer Pat Collier reined them in a bit too much. They've created a nice mix of songs influenced by their previous work in other bands, fitting neatly between the more tortured emo of Texas and the more rockin' pop punk of Samiam. The songs' strength lies in the number of pop hooks; they're plentiful and stay with you; Garrett's voice hangs in there with them and is mixed well with the strong guitar work.
There isn't anything unique here nor are any of the songs so great that you'll immediately throw it on a mix, but as a whole, it works as intelligent pop with some good punk moments. Taken straight from vinyl to enhance your masochistic listening experience.
They're a longshot from anything I'd call amazing, but the album is definitely fun, and seems like they'd be ever more fun live So you lean back and listen. Light yet filling songs with a definitive aptitude for resonance and cymbalized combustion. There is a certain silence to their rocking out that is hard to explain here. With all of the peal happening, Sometimes Seven give us the hushed treatment, making the entirety so much more valid that I was impressed without being forced into the thought.
Unabashed pop gone sad guy with a happy gene that is as infectious as most of the song crafting. Not bad. Most of the time, the tunes are ballads that seem to drift off hypnotically to instrumentals. Sonic Youth have turned it into a classic oxymoron. The fact that they manage to keep the tracks short only two tracks are over four minutes instead of going on for 20 straight minutes in a row probably helps as well. Instead, Sorry About Dresden has a honest pop awareness that enables it to write songs that are understandable to the mainstream college radio crowd.
The Chapel Hill community continues its unrivaled streak of producing bands that could never even be considered remotely sexy. Their instrumental approach is novel: seemingly off-time, paper-thin drums and clean electric guitars awkwardly frame injured, insanely melodic vocals. The structures are simple and consistent, employing one-string guitar leads and chugging barren chords from track to track. Sloppy but heartfelt, rhythmically obtuse but melodically appealing, The Sounde Minds are one of the more thrilling bands mining the past in the present.
This is emo, Deep Elm style, and one of the better examples of said sub-genre: melodic without being saccharine, powerful and passionate without being melodramatic or contrived. Granted it helps to be into this genre in the first place, but emo ex- kids looking for something to re-spark their faith would be well advised to check this out. There are a few neat rock n' roll guitar noises here and there, but such moments are overshadowed by a complete lack of imagination. Bottom line, you can't rock just by throwing in the occasional Kiss riff.
Needless to say this is very cool beans indeed. That guy must be in Weezer. Good selling point, hence the sticker. Certainly, upon listening to this disc, the relation or worship of the aforementioned bands is obvious, and definitely resting more on the laurels of the band that put more hits on MTV.
And why not do just that? So, on with the side projects. Xtian Epitaph, Sunset Blvd. Well done, but ostentatious none-the-less. Songster Dan Cuddy presents his songs with aplomb, and if they were played pure pop, my attention would more likely be right there. Modern psych comes off as more electronica than electric, with a heavy production hand.
I prefer more stripped down, plug-in-and-play these days. I must be listening to a lot of punk and singer-songwriter, those two bastions of lo-fi. Not a bad disc, but the recording makes it sound a bit empty at times. Things like mad cows, single-lane bridges, parents who like Brooks and Dunn, etc. You can hear this right from the start. But not as country as the Ponys, and not as rock as Mr. Great melodies, great pop. According to the liner notes on this collection, the members fought constantly.
The unified cool of their sound is therefore all the more astounding. None of the conflict can be heard in these amazing tunes. These guys move like a single entity, rockin' out and recalling a time when big belts and sideburns were the in thing. Crazy, baby! Half stoner rock, half crusty punk but all rawk n rool with an equal amount of fast and sludgy tunes. Plus other headlining shows in clubs where the beer flows like wine and heads bob up and down in repetition to the 70s rawk gone ballistic meatgrinder in a meth lab about to explode.
Man I love these guys. Take Speedwell, a well-meaning but uninspired band from Washington, D. Their faceless, radio-ready emocore is as stifling as it is earnest. Is this the product of Jimmy Eat World's oppressive ubiquity? Let's hope not.
It would signal a bleak future for all those upper-middle class white kids with guitars. Although huge Spencer Davis fans will no doubt gobble this up, less obsessed listeners would do better to pick up their first two albums, both of which were recently reissued by Sundazed. Pretty funny concept for a pretty fun band. The three songs here are speed rock gone full blown backyard warrior with a great sense of humor and heavy enough sound to make them rise above the usual frat rock one would expect from an outfit like this.
Whittaker Bwatt! The material engages in a tuneful yet amiably hard and crunching fashion that, while not exactly remaking the power-pop wheel, is certainly possessed of much personality and zest. They brought psych and jazz elements into their ecclectic progressive rock sound. An excellent collection of tunes that hold up surprisingly well, although the 5 bonus tracks don't add much. Granted, the sound is still big and ambitious. It is, after all, a Spiritualized record.
However, Pierce has really stripped the sound down from the opus category to just being grandiose rock. Maybe Pierce knew this. He still has enough soul on his own. A step towards the past looks like it will be better for the future. Everything is in place here. The college radios should be eating this up. Will the punx accept it, who knows.
Maybe locals? Not so much wave-influenced punk as much as if Robbie da Robot or, more likely, 4 primitive robots like the one shown on the cover listened to too much Ramones while being programmed by their obviously mad creator. One more reason why the Dirtnap label means quality.
Having said that, Split Habit goes in so many different directions problem 2 , from pop punk to faux-emo problem 3 to dance-ish new wave like stuff on the last track that they lack a vision of their own problem 4. There is a lot of promise on this disc, but it suffers from a lack of any real direction. Spokane make Low look like an upbeat group.
This is the fourth release from this mellow lot, and the group has now grown into a three piece with the addition of bassist Robert Donne known from Labradford and Breadwinner. Alternating male and female vocals are the name of the game, combined with extremely atmospheric music along the lines of less frantic Dirty 3, the aforementioned Low, and maybe even a little newer Mogwai thrown in for good measure.
Sportique - Communique No. The eight songs here work from a bare-bones background: thumping bass, whistling organ, and brittle guitar. All of these elements make for an envigorating rock record, one that channells the past without gratuitously aping it.
I'd have no problem writing off this band and this album My advice to you my friend is to buy this album, copy "The Sun Provides Vitamin D," then sell it back to the record store and get an album you can actually listen to the whole way through. Hopefully this is their first release, and later releases will show signs of songwriting and intellect. Miller is a veteran British psych-rock also-ran much beloved by fans of mags like Ugly Things.
This is a collaboration between the two, which features the Squires airing out 60's chestnuts from Miller's musical archives. Neither have changed their style much since the last time I heard them; they both do basic three chord Ramones style punk pop. The Teen Idols songs are a little more fast paced and utilize some great guitar leads in the middle of songs.
It would be nice if they took better advantage of bassist Heather's vocal skills on these tracks, but that's life. Squirtgun is the musical vehicle for Mass Giorgini of the Sonic Iguana production studio, and their songs have a touch more humor in the lyrics. I've heard both do better songs, but if you're a fan of the bands, pick up this limited release and you won't be disappointed.
Singer Julie's vox are strong and clear but after this track the record mostly degenerates with each subsequent song until it is harmless brand x rock. This band, The Staggers, reminds me if Glenn Danzig were to hop on the punk-a- billy train and wind up in some roadhouse just outside of Jacksonville. The music is tough guy, full tattooed and fulla whiskey, they creep through tombs and back alleys to crate tunes that are tightly wrapped up in punk rock honky tonks and plenty of love for pompadours and finely crafted sideburns.
And to be quite honest with you, this is one of the better bands in that genre to come along in a while. Fans of Necromantix and Social Distortion should take heed and head out to the local record barn to see if your copy of The Staggers has arrived. I would imagine these cats being amazing live and talking about old horror movies afterward would be required. Or how much we miss Johnny Cash. Maybe all of it.
Strongly mainstream material. But are they having fun? The first six songs are fresh studio recordings, while the last six are demos. Frankly I find the demos a tad more interesting, since the weaker production actually gives the songs a little more definition to my ear; you can hear the lyrics more clearly and the guitars some through in a less amped up style. It proved so much fun for them, this CD is the result. Though occasionally over-modulated to fuzziness, the band accomplishes its goal, including the inevitable solos.
It's agreeable music, with frequently clever lyrics, but devoid of anything resembling innovation. Impossible to hate, but difficult to love. A thoughtful and catchy record from a band worth watching. Man, what else is there to say about some of these melodic punk bands that write generic songs. Please note the sarcasm in that last part. You can smell the Warped Tour all over these guys, all of whom fit the cute and spiky haired look we all know and love from all of the same bands and same videos across the board.
If only they can get the zits to go away and just learn how to play an instrument. So instead they but the CD, keep their job at the Wiener Hut and skateboard into the sunset hoping someday that the cute red haired girl will notice them. The same girl with a poster of The Starting Line in her locker. Good luck kids! Not bad, but one of those releases you should probably borrow from a friend because making the decision to part with some hard-earned bucks.
Nothing new of course, but unlike more than a few similar-minded folks out there they manage to inject enough energy into the proceedings to make it through on intensity if not originality. Check out the title track if you need convincing. His guitar work really stands out in each of the original tunes, with more of a Johnny Thunders feel than a Paul Westerberg one. Inside the CD booklet is a paragraph that explains the history of each song, which raising the appreciation of them that much more.
Either way, this trio is sort of the equivalent of comfort food with a bit of bite. No threats here, just harmonious down-home listening. A lot of this works on both levels, laid-back Anglo-ska or terse reggae. They maintain a consistently high standard throughout, balancing deep soul, dub and dancehall. Not an easy task. They deserve more recognition. But, so do lots of us. At their best, most were a match for their Kingston brethren, and the Pulse were no exception.
All told though, little to find fault with here, and worthy accompaniment for the burning of a spliff or three. They're relatively far removed from world politics, so unlikely to be too big a terrorist target, it's far away from the U. Plus, there are a ton of great bands there! The Steinbecks have been around for awhile, forming from the ashes of the Sugargliders, doing indie pop stuff way before the Lucksmiths and others from down under made their mark here in the states.
I think part of the reason for their lack of recognition is that they release material on an infrequent basis; a full length in , and ever since, just a handful of singles. At least what they do put out is quality, "Song For Today", the third track on this, is exceptional indie pop along the lines of some of the best of the Housemartins. Prime material that fans of the Lucksmiths, Belle and Sebastian and others in the vein would like.
I just hope this means there will be more coming from this fine band. These folks expertly conjure up swirling waves of noise like My Bloody Valentine used to do, with the atmospheric wall-of-sound that Slowdive could come up with during their prime, resulting in quite a tasty release. Superior to many a band trading in similar sounds. Some of the material is previously released, but there are five new songs here; four Fields tracks and one solo song.
There isn't anything new here; Merritt has always been one of the more eclectic songwriters around, mixing guitars and electronics into a unique blend of indie pop strumalongs. Merritt's intentionally crooning deep vocal style fits the music; adding to the melancholy nature of the songs. The imagery of Merritt's lyrics often are of love going slightly askew, but always in the end love is the most important thing.
When he sings on "Stray With Me" "when I come home in the morning and I'm too drunk for lies, stray with me", you know that he believes in a love that will make it through both good and bad times. That's a theme that populates these songs, and it works for me. Nice stuff, and nice to hear in the press release that Merritt is working on a new Magnetic Fields release for And there is a definite strong hint of hookage.
Formed as Cosmic Avenger, Supersoul has morphed into a band that would probably sound like a lot of fun at a party, or Bat Mitzvah. It has all of these elements that I like: the French yeh-yeh pop, Gainsburg covers, quirkiness the first track contains a great typewriter solo! It seems that after a couple of great songs i. Stereo Total is ultimately a band whose music comes across better when described in print than when actually heard. Taking '60s influences like Motown, Dylan, Stooges and Velvets, Stereotypes create memorable tunes with a edgey contemporary sound all their own.
The arrangements and production add a lot to the mix, and the lead vox coming out of a guitar amp are distinctive and cool. Yet, I find this release extremely easy on the ears and not a bad listen at all. Still, not what one would think of coming from the mind of the former Mr. Also includes two live videos of the Stitches in action for your viewing pleasure. This record is full of melodic German-language skinhead chants, but the sax throws in a weird X-Ray Spex feel, kind of like if Poly Styrene was a pound tattoo-covered German skinhead guy.
Most of this is tough guys being melodic in a punk way- a. Oi- with some 2nd wave ska thrown in. Stop It! Or a bad one. Both I could see. Let it carry on. Let it mind its own business and thwart until the light of the morning after. While music is very well played these guys know their instruments and the songwriting and singing is tight, it just does not have enough of a flair to keep my interest. Kind of release that would be played by a preppy trying to prove how cool he was. The problem is they are trying too hard to be cool, or to be on the radio.
They may succeed in the later. Cool logo, though. Some songs delve into dream-pop, other times they crank up ye olde guitar-noise, sometimes they mix the two to satisfy yer swirl-pop yearnings. A quality release, what more need be said? The tunes here are driving and core without being too meathead-ish or dull in the center of the speed storm. Mainly the Street Dogs like to talk about the working class, which is quite understandable if you have spent any time in Boston.
Great town, but man, there is a LOT of blue-collar dudes and the bars line the streets like carnival ducks waiting to be shot. Which is why the town has such a distinct sound. Angry but with a soft center and an almost Irish beer drinking song anthem to each ditty. You can just see the crowd pounding their fists and singing along to each and every tune, knowing the words even more than the singer does.
Plus its good to see McColgan back in the race. This is a re-release of their first seven inch, a nine song, ten minute affair originally put out in The first nine tracks are all fairly one-dimensional and mediocre "hardcore", but the songs do get better around track ten i. Trust me, you don't. And while th Radioheads of the world are content to give us the sound of a new band on every album, the Strokes would rather take the sound many fawned upon and, I fairness, many panned and simply extend it to 11 fantastic new tracks.
Give me the crazy new direction from other act - in the meantime, the Strokes have crafted a follow-up that fans can toss in and tap their toes to from minute one. Can that be so bad? I swear, half the crowd noise seems to be people booing. And well they should. The whiney sound on this record doesn't stop with the vocals.
The guitars have a whining quality as well. The playing is so wimpy and unexciting, these boys would probably be kicked out of band camp for being too mainstream. Musically they take their cues from vintage skinny-tied punk, back when punks actually were still wearing skinny ties before said apparel was co-opted by the Knack wannabes bastards!
Definitely worth checking out! This is pure uber-rock-a-billy of the highest order. There is a haunting, organic quality to the recording that you never hear on modern day records, almost a ghostly quality. Not a dud in the bunch. Gotta give Norton props for this one. This guy was Lux and the Cramps twenty years earlier. He utilized the whole palette of roots music and did it expertly. Espousing the same dystopian boogie ethic as Devo and Brainiac two of the most influential, under-credited Ohio bands I can think of , Stylex up the ante with mechanically tight arrangements and abrasive, confrontational lyrics.
Low rent rhythms and vocoders meet walls of guttural guitars in ways that would make Tim Taylor proud. What the? Excellent, ass-tight production and vicious shards of melody are all the more reason to pick up this challenging, thickly-layered mindfuck. After 7 records, this outfit has succeeded in carving out a sound, a niche, and a process that makes improvisation sound vastly premeditated. Well, at least sound like there is a common direction that all the noise swirls, droning, and assertive percussion are heading toward.
At times, this gets intense, and always remains focused like a laser beam pointed directly into your pupil. They'd be better off sticking to what they say they are, a ska-punk band, because all you've got here is a band that sounds just like a bunch others. I suppose there are a few catchy moments, but it's not anything to get excited about. Now maybe if they actually used a ska beat in more than a couple of songs here and there, or as something used to break up another monotonous melodic "punk" song, you'd actually have a band that would have a unique sound Total punk rock with the band members all geared up in Army fatigues donning guns and American flags behind them with an image of an impaled soldier on the cover.
Maybe these guys are just joking. In any respect, the music is Social Distortion gone overly opinionated tough guy. No doubt that was the intention. Vocalist John Mendiola seems to be quite unwell. Mendiola goes from a growl to a high pitched wail, then shoots somewhere in the middle, finding the tone of someone who really should be locked up.
The band backing him up is appropriately manic, playing as a single, fucked up unit. For all this out of control strangeness, the tunes are also catchy and appealing. Subincision has nothing sweet or positive to say, but these boys do offer up an engrossing sideshow. LP from this Atlanta group features lots of cool garage-y material with a scratchy guitar, a moody ambience, and unabashed Lou Reed-style vocals. This sort of thing could easily be lame if it was overly derivative or the songs stunk, but the Subsonics make their stellar influences sound remarkably fresh.
Her top 10 hits from '61 and '62, "Norman" and "Sad Movies" are mostly ignored by oldies stations today, as well they should be. There are at least a couple of gems here though, her last pop hit, "Paper Tiger" written by label-mates The Newbeats, and the superb "It's Break-up Time", which incredibly never charted. Suffrajett outside of the clever name! Maybe because the charming and raucous lead singer, Simi, looks a bit like the girl from BowWowWow, sans Mohawk, but sounds more like Pat Benetar with street cred and a rough upbringing.
Recorded in a mini storage facility in New York, guitarist Jason Chasko and Simi belted out the stripped down driving grooves with help from an ex-Elysian Fields bassist and an ex-Psychedelic Furs drummer. The stewpot of all this results in a totally fun and raw album packed with head bobbing riffs and spiky wrist bands waving in the air anthems.
Remember Local H? Yeah, a bit like that but more Runaways than Ramones with a foxy lady thrown in instead of two sweaty dudes. Cool man. Sufjan Stevens wrote and arranged everything on here, though he's assisted by a host of his friends, some of which make up Secretly Canadian's crit-darlings The Danielson Familie. The gentle, pseudo-traditional songs are expertly arranged and recorded, emitting a sort of European-pop meets sophisticated-folk vibe.
Sufjan's high, beautiful voice is endlessly listenable, and the masterful female harmonies only accentuate its strengths. Horns, banjo, guitar, drum machine, glockenspiel, oboe, vibraphone I don't think so. An excellent slice of musical Americana from a devoted fan of the subject. Even has that same slide-country guitar sound thing going on in the background. But what is anymore?
Depending on your mood this release could be seen as a weak five-years-too-late attempt at modernizing their sound or a necessary retooling to avoid a dead end. The music on display here alternates between ska and harder-edged punk tunes, the latter featuring a harder edge than I remember from their last album, though there are a couple of numbers near the end that seem tailored towards helping the band regain their spot in the big leagues if they can wrangle it back from Good Charlotte that is.
Right on. Lily www. Spiritualized and Mr.
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I figured I would hate this as nothing more than dated re-hash. Actually, this is skate-noise for the NWO. Combining HC riffage with gnarly splooge is a good thing in this case. The guitars and vocals create a swell anti-social sludge. They claim D. I and C. Something more fucked-up and anti-structural. I'm drunk as hell right now, so what do I know? Anthony www. Deep-voiced brothers Dallas and Travis Good sing and play guitars like a couple of tortured souls; they sound great.
That said, this an outstanding record. Kevin www. To their credit, they seem to recog that their forte is not Surf City proselytism though "Shoot That Curl" is enjoyably lightweight in a Jan and Dean kinda way , but rather sun-dappled soft-pop reveries like "Strange Things" and the perfectly named "Layabout Dream". Absolutely wonderful. MLH www. No posing here, just great songs and great execution. Steve www. There are enough good cuts and musical critiques to satisfy faithful fans, others should be directed to the earlier albums.
David www. He sounds like a karaoke lounge lizard. But where others who hoe this row are so half-hearted about their execution that they make as deep an impression as Silly Putty does on sheet metal, The Salteens summon energy and conviction. As a result, their guitar-driven pop songs feel weightier than they are. J Edward www. An indie pop fan will alternate between thinking they might be listening to the Go Betweens and a toned down New Order on many of the tracks.
This self released effort at its best sounds like the Eyeliners when they've got the pacing fast enough, but most of the songs are a little slower, with vocals that are a tad too detached from the perkiness of the music for me. There are some good songs on this, such as the perky "First Kiss" and "New York", which features a nice chugga chugga guitar and some better harmonies. Lyrically, it's about growing up relationships and following your dreams. This is one that has grown on me more and more with repeated listenings, and they've got the chops to make some good pop punk in the future.
To be fair, this bringing together Mr. Runaways with the deep vocal tones and twang-fixated instrumental work of Swedeen has its charms. Such a deftly turned musical replication of Southwestern torpor must be what makes Fowley for once seem almost restrained throughout the proceedings. In fact, one would surely have to have a heart of granite to not be moved by anything she sang in her sadly brief time on Earth.
Short of owning at the very least every record by the band that first made her name, British folk-rock pioneers Fairport Convention, this is as good and as choice a way to be introduced to a truly timeless and ageless gem, as could ever be found within folk, rock or any other genre.
Nuff said. Well, Santana is back with another record of collaborative mainstream junk. Everybody from Macy Gray to P. In trying to appeal to everyone, Santana has made a record that nobody who really likes music will appreciate. Once again, congratulations on your Grammys, Mr.
Now please go away. But then I relaxed and let the tunes go. The whining turned out to be well-crafted vocals over rhythmically driven rock done with both sensitivity and aplomb. It takes its breadth with some precision and girth which will appease most rockers and even the sad kid across the street all dressed in black who still dons a wallet chain and bullet belt just to let you know that he digs the heavy stuff man.
Plus with only five songs what have you got to lose? Whittaker www. The brainchild of Detroit musician Fred Thomas, assisted by a boatload of singers and players including Ted Leo , this is music that in its way resides in the same parallel pop universe as Belle and Seb and the Mag. Fields, yet with rougher edges to it the Motor City influence?
Coming to you in what sounds like almost mono - assuredly, defiantly anti-digital in its presentation, SLGTM is an alluring, tuneful treat and a half. And this is, I hear, their fifth album - too long we pop fans have slept on this lot, obviously. Pam www. It reminds me quite a bit of Tristeza, and in fact I think I like it quite a bit better than them. I have no doubt that Saxon Shore is a good band and this is an enjoyable record, but only time will tell if they bring themselves to achieve something higher than that.
Jake www. Melodic punk that certainly has influences in the indie rock vein, such as fellow hometown band Superchunk, but the songs are faster. There's a nice wall of guitars, the vocals are strong, and subject matter veers clear of the typical juvenilia although it still works relationship territory for the most part most of the pop punk genre focuses on.
The songs also stay clear of the verse-chorus-verse-snazzy lead guitar part-chorus format, which makes for a more interesting listening experience. Take a band like the Get Up Kids, add some speed and a creative use of guitar hooks that shy away from what everyone else does, and you've got a rock solid punk rock sound.
They alternate between driving atmo-rock and dreamy songscapes and do quite a credible job at both even the almost minute "Burning Down the House" doesn't outstay its welcome. Unfortunately the band has to fight an uphill battle against the muffling misproduction that does its best to sink the album; they manage to get the upper hand in the end, but not without a struggle nor without taking causalities along the way.
Still worth checking out, but I definitely recommend they switch studios producers? Nottingham, England native Emma Louise Niblett possesses vocal intensity and poetic lyricism reminiscent of early PJ Harvey, but the musical accompaniment has a minimalism that puts the focus right where it should be on the artist herself. Some songs strip it down to the absolute most basic level of vocals and a modest drumbeat, which has become her trademark from touring and playing solo.
The songs that do feature guitar and bass keep the music to a roaring minimum. No matter what else is going on the words and vocals carry the record along, and more importantly she not only sings but has a voice in a sense that stretches beyond what you are actually hearing.
She gets into your head, and that is what every great songwriter aspires to do. Xtian www. After the release of "Meet the Scruffs" the band took off to New York, tried to hook up with a major label, wrote some songs, got rejected, kept trying, guys left the band During a roughly four year period, the band wrote 20 or so songs that ranged in influences from their hometown mates Big Star to the Raspberries to radio influences of the late 70's and early 80's like the Knack and Nick Lowe..
None of them saw the light of day until , when this was originally released on the small Northern Heights label. Rev-Ola picked up the rights to this and their debut and both have been given a good treatment. I've seen some criticism of this record in places, saying it's uneven, not as good as their first, but I think people have to realize that this isn't likely what an actual finished second album would have sounded like, the "filler" tracks would have been cut for a vinyl record, so you'd have the best of this release.
Frankly, I like hearing as much of the Scruffs as I can. The production is upped on this, you can tell the band spent some time in the studio honing their sound trying to make the majors grade, and there are several great powerpop classics here. It's almost like they were about 5 years too late for their best songs to be hits; "Now" is an absolute killer Raspberries influenced song that would have been huge on the radio in the early to mid 70's, but people just wanted a little more anger in their songs by the time the Scruffs hit the scene.
They're still occasionally playing a show here and there, and they've left us with some real gems. If you dig powerpop, this is essential. Scruffs - "Wanna Meet The Scruffs? Plumbing similar lovelorn and lust-torn lyric territory as hometown ancestor Big Star, this Memphis quartet had a comparable gift for wrapping teen angst in winsome harmonies and guitars set on high jangle. With the news that Burns is presently working on a fresh batch of tunes with members of Belle and Sebastian and Teenage Fanclub, this could not be a more welcome and foresighted reappearance.
And as long as younger groups like this continue to churn out high-quality variations of the formula, I probably never will. Jeff www. Delicate string arrangements, expert use of dead air and neatly tucked guitar lines do much to redeem the somnambulistic proceedings, but it would take a lightning bolt to invigorate these wan vocals.
Seriously: could the lead singer wake up a little before recording his vocal takes? The drumming, at least, shows some promise. But a drummer does not a band make. Through speakers, the drums are hollow and anemic, the guitars tinny and emasculated, and the vocals over-earnest and entirely too prominent. Without the wildly imbalanced mix this might have proved an arresting listen.
The band obviously has a distinct style and likely puts on a good concert. Sadly, that means little when the mix is this distracting. Awkward rhythmic passages and ambitious but failed production tricks only hint at their potential. John www. Great for dreampop or shoegazer aficionados, but numbingly thin and repetitive at times.
Awkward drumming, hesitant vocals and dated effects plague the remaining songs. Overly bouncy, and sometimes bluesy ska that never finds a home and does nothing for me. And there are five horribly recorded live tracks that are pretty much unlistenable. With this crew we find a wide array of instruments horns and xylophones and even an amplified birdcage for chrissakes!
Alternating male and female vocals, both quite breathy in nature, which sometimes harmonize together in a fashion not that dissimilar to Ida. Other than that, not a bad album as Kim Chee Records continues to put out quality music with each passing release. I could do without some of the electronic effects, and the last track on this includes a long electronic noodle-fest of little noises that is just plain silly, unnecessary, and seems to cover about 30 minutes.
I wish I knew why bands decide to put things like this on the end of really good albums, but I guess everyone has something they need to get out of their systems. Otherwise, a fun romp through the world of new wave powerpop. Thanks are extended on the sleeve to Moog and Theremin, but also to Damo Suzuki and Toni Basil, which somehow seems equally fitting given the contents.
A pure, uncut, Shinjuku bleep hour of auditory enjoyment. Their second album was a dud, and now comes an album of covers, mostly '60s tunes from Jamaica. Great selection of songs, but these watered down versions verge on easy listening.
Pauline Black's sweet vocals on "Johnny Too Bad" certainly aren't true to the song. The band just doesn't rock, and Black's singing is MOR. A disappointing return. Mel www. Was Jawbreaker emo? This group of French Canadians has produced a fairly catchy album here, one that grows on you more each time you hear it. Quality dreamy shoegaze with a very 80s sound ala Psychedelic Furs crossed with early Depeche Mode.
Sharon www. Other than that I recommend checking them out with some caution because this bride wears black and is carrying a big butcher knife. That isn't all, I'm almost afraid to tell my friend that Dylan Hay-Chapman, a cast member of the Buffy the Vampire Slayer is the principal songwriter of the Service Group. It will just feed his fascination with the brilliance of that show. In any case, the experience of these band members is apparent all over the place in the great melodies, with sunny guitar and fun samples and hooks all over the place.
It's power-pop love. Che cosa? The sound is usually ballad speed with a few vocal raves here and there, backed by dissonant sound that vary from tinkle-tinkle to crashing and banging, all usually in an amelodic fashion. Poetry or masturbation? RBF www. The next song, "Sister Misery", is another nice pop tune, but it goes downhill on a song like "Heaven's Gate", which makes them sound like a bad 70's southern rock outfit.
The lead guitar work also is lacking much imagination. If they stick to the more melodic pop material, then they're OK, but otherwise, it's been there, done that. Too bad they didn't continue on this vein; I'd rather they'd become a much less hackneyed version of the Jam. Recorded in on a 4 track as a demo that was sent to labels in an effort to get signed, this is a fun lost skinny tie power pop gem, maybe more along the lines of the Records or the Rubinoos than some of the mod bands they played with at the time, including The Jam and Squire.
There are plenty of Beatles and early Who influences, the 4 track gives off a great deal of charm, but you can hear some tremendous jangly lead guitars buried way back in the mix, and the harmonies are also killer. Probably my favorite reissue, if you can call it that, of the year. To confuse things further they throw in an Out Cold cover as well. The whole album sounds as if it were recorded in their basement with a cheap 4 track and loads of cold booze. Cold like a dead hand.
They could be invoking the spirit of The Damned whence they first hit the scene. New Romantic? Just go with it and see what emerges from the creative blender. These guys put in the right amount of sacrificial wine think Thunderbird or Night Train , eyeballs, condoms, safety pins, shoe lint and that scary alter piece your friend owns; yeah the friend that always dresses in black and throws empty beer bottles at buildings.
What is this? Nine blisteringly lo-fi gutter-rock tunes in just under 16 minutes. Looking for a sweet Zeppelin coda? The relentless drumming and furious riffs are perfectly placed. The vocals snarl and wail beautifully. These guys just might be the best band out of Arizona no offense, Giant Sand. If I had to compare them to someone, later-era Jawbreaker, Sensefield, even the Wrens come to mind first. One thing is for certain: the album is way, way too long. They might want to try leaving them wanting more next time around.
Praises be, then, to certain contemporary record co. There she laid down some tracks that up til now remained the property of serious UK collector scum. More's the pity, as the tracks herein prove astonishing evidence that Tandy stood toe to toe with more popular Beat Girls of the era like Sandie Shaw and the incomparable Mme. Heck, she even cut a session in Memphis, backed by the MG's, two years before Dusty.
Sadly, her record company shelved it. It's a tribute to Tandy's talents as a singer that these cuts aren't even the best stuff on display. In between these is everything from late night torchers to Marvin-n-Tammi bopping bombast, all essayed with style and passion. Here's hoping, then, that Sharon Tandy's day has indeed arrived. However, as so few bands are capable of these days, The Sharp Things do slow right. Somewhere, a teenager is listening to this record and crying over an unrequited love.
Ryan www. A bit of hardass punk drumming brings the tunes into the current millennium and gives the Shazam a nice twist. Yep, this record rocks. Collins, CO The She Wolves successfully walk the fine line between punk and metal. Also, the songs support them, as well. Solid, if not spectacular, garagey singalong punk with female and some male vocals. Reminiscent of the Smoking Popes in places, both musically and vocally, with catchy guitar based songs that have some good pop melodies and interesting bridges.
Cut in half this record would be twice as effective. Pretty fun and loose, quite catchy, and overall just a damn good seven song glimpse of what The Shocker is capable of. Jesse www. Using a sound that is reminiscent of the Pogues and Them. If this mag used a scale to judge these releases, this would be right at the top.
Booze and chicks and all the rest. Worth the expenditure. RBF Poorhouse Records, no address. They still might for all I know. Turns out the song, by the Sidekicks, is about the fact that Bruce and Dre seem to have backed off from some of their harsh rhetoric about police brutality. It's probably the best song on here; the Sidekicks do a cover of Dinosaur Jr's "Feel the Pain" that does nothing to add to the original version, and most of the material here just falls into the angry young adult punk vocals over some marginally interesting indie rock guitars category.
I guess I should give Short Round a little more credit than that; they've got the better songs, solid punk numbers that remind me a tad of later Husker Du in places, with interesting time changes and decent vocals that don't go over the top. Far from essential, but still better than the crop of MTV punk numbers bands like Sum 41 and Blink Steve Let's Go!
That is so distracting I cannot properly review this record. This could be a recipe for disaster in less capable hands, but this band performs them with sufficient chops, panache, and moxie to pull it off. Shutdown 66 are one more in a very long line of ass-kicking Aussie outfits, and they have the good sense to write their own songs rather than simply cover older material by other bands.
The Sick Lipstick doesn't seem to do much to take it to a different or new place. But I can't deny respect to my fellow women who are rocking out to a loud and happy audience! And you can certainly rock out to "Sting Sting Sting". I dare you to not shake some booty. Evenly split as per its title between rare live cuts from their heyday, and re-recordings by a recently reconvened version of the band, Mick Cancer and cohorts still hold fast to their swamp spooked rocking ideal.
Some of their songs are pretty darn good, too, but the vocals have an unsatisfying, overly generic feel. That alone will unfortunately keep me from listening repeatedly to this CD. The angst comes mostly from the lead vocals, which wash over the music to the point where they are the definite focus of the band's sound. The band formed about 5 years ago, when the members were 14 years old, and judging from the lyrics, they seem to have been through a lot in life.
They seem to have a lot of anger to express in their songs and manage to sound true to the lyrics; maybe these kids are the future of what real emo punk will be about. It's not my cup of tea, but I see them going places down the line because the kids will get into the raw sound and alienation of the lyrics.
Hell, it even grows on an old fuck like me. Some of these songs also have the storytelling flow that all those great Minutemen songs did, however, in the process also suffer from some of the pitfalls when they depart from this strategy and forget about melody. Isolation rock from the Twin Cities. An untitled album of eight songs, each also listed sans title.
A singer who wails in a bastardized mix of Nordic and English, and then invites fans to submit their own interpretations of the lyrics to their Web site. They seem to spend more on CD packaging than they do on little things like say, song titles. Luckily, this great psychedelic pop made it to a wider release. Yes, the moog takes the traditional guitar, bass and drums over the top, but the Silent Kids distinguish their pop sensibilities more with some drum machine and sampling.
Unfortunately as the CD goes on especially after the fourth or fifth song the tunes become noticeably more lackluster, and the oh-so-shocking puerile lyrics on some songs makes one more embarrassed for them than because of them. There are some good songs after that point, but it becomes more a series of peaks and valleys mostly the latter than a consistent collection of primal punk.
Comes with multi-media goodies including a photo gallery, band history, and live reunion footage. I would not hesitate to place Silo The Huskie among those misfits and miscreants. They rock with an awe shucks attitude that makes ya want to hug 'em. Yeah, I know, genuine white guy guitar rock died well over ten years ago. Now we have Korn.
Horseshit I say! Just gimme indie rock! Truer words were never spoken. It's really hard to tell one tune from another on this disc. The tempo changes from the first track to the second, but that just means "Red Light Pledge" sounds like a slowed down version of "Smashed Into Pieces". Maybe this will be exciting to someone. I nearly drifted off whlie listening. Mark www. Proudly Presents Her little girl voice with maturity beyond its years whispers and lulls the listener to pay close attention, a device that works for her.
One could imagine her standing in a crinoline dress the dress is actually shown on back cover of the CD in front of a piano, or thin this case, a small combo, crooning soulfully. Plus they had a song on the Scooby-Doo soundtrack so that should tell you something. A mixed bag from the Simple Things, but if they can hone in all the things that make the second song great - the melody, the distortion, the cassette culture carelessness - they may be on to something.
J Edward Casino Records, Germany. The songs are all high concept, just like the album title. This kind of thing can often come off silly, unless a band really has the talent to do it right. Since By Man has the talent. The emotion is genuine, the musicianship first rate. It takes true guts to put handclaps on a hardcore record. Since By Man does it, and it works.
Because the organ is mixed as high as the guitars, the songs never bludgeon nor get stuck in morass. Instead, they sound sinister, like The Jesus and Mary Chain with more nuance. Single Frame Ashtray is helping take indierock to that danceable place. Some of the more rocking parts of the album are reminiscent of Les Savy Fav, with the dance tracks feeling more akin to stuff going on in the NYC electro scene.
Combine 80s synth pop with 90s Dischord style rock and this is what the marriage produces. Wetheads come running, everyone else go the opposite direction. An embarrassing self-consciousness pervades their existence making them uncomfortable to even look at. Imagine all those qualities embodied in a band, and you've got The Single Frame. A forced air of hip coupled with a lacking basis of real talent makes this 20 track album 20 tracks too long.
Mona www. The result is still 17 strong indie-rock compositions that are fun to listen to. There's an incredible amount of variety on Sonny Sister's fourth album. Gentle electro-rock a la The Notwist , laptop pop, danceable, symphonic romps and Portishead-style dirges with male vocals are all here. Sister Sonny hail from Norway, but you'd never know it. They sound more like geniuses from New York or Chicago that have tapped into some wellspring of European subtlety.
Their only weaknesses are the songs' unrelenting smoothness. Every edge curves serpentine-like into the other. Nothing is remotely out of place. The only hint of spontaneity lies with the vocals, which are all over the map stylistically. Highly refined, often experimental ambient pop for the sensitive and intelligent listener. Amicably forgettable, though if you jonesing badly for a Britfix, you might want to check it out.
In fact, Kand was in utero when Catastrophe Ballet was being recorded you have to wonder what that was like. If this was an experiment in child psychology, I would conclude that a considerable amount of molding had taken place. Though certainly not as innovative or notable as Christian Death were in their respective time period, The Sixth Chamber undoubtedly ranks among the esoteric ranks of goth-rock, without being too hung up on the stinging guitar attack aspect that rules the genre today.
This has a cold, strange sound, and one should expect nothing less. Xtian Novokkane Noise, Sanborn Ave. Why Canadians do this so well remains to be seen. Which is fine, just keep sending the most current melodic, catchy stuff and forget the rest. Has-been punks rule, OK. And why not, since they helped invent the genre? Jeff Dr. The Ravonettes are getting the big JAMC treatment these days, but this band sounds more like the real deal, taking some of the garage aesthetic out and adding the Spectorish Wall of Sound feedback to the mix that gives these songs layer after layer of blasting sound.
I like them at their best when they race through a song at breakneck pace, but when they take the speed down to more normal limits, they've got the ability to get atmospheric and still make it sound good. I do wish the vocals were a little more upfront at times; they are washed out and down in the mix intentially, so you can barely make out lyrics, but what the hell, I'm a melody and hooks kind of guy, and this is full of both.
Like they say on their website, "Killer Rock n Roll". Go back to school Blood for Blood, the original Boston metallic punk thugs are back! Hard, fast, pissed off, and tough as nails. This is the band that taught Blood For Blood all they know! Their m. Two out of five stars. Originally a band from through , Slaughter and the Dogs re-formed for one of the British Holidays In The Sun festivals in the mids, and did a tour of the U.
The sound is great, and the performance of the songs seem perfectly fine. Like a lot of punk bands from any era, they had a couple of good songs and a lot of forgettable ones. Their signature song, and one of the very first U. Jesse TKO, W. Cary St. Although they sound like a bedroom band, the artwork appears to show them recording in a studio. Some hard earned money wasted there. The songs are all written by the various members, with lead vox from whoever wrote the tune.
ST broke up in after almost 8 years together. Mia Schoen, who also played in the excellent band Huon has gone on to a solo album. For the lucky folks who discovered ST they were a unique pop band who will be missed. Any band that can take their roots and love of pure country and fix it up with hot rock and a goofy attitude gets a few nods from me.
I had a great time with these three boys and want to highly recommend checking this out. Some punk, some twang, and a whole lot of good cheer. But it seems that we have found one. Yee haw!!! Liberally steeped in folk-rock root broth, with rather charming vocals and harmonies, very much in the tradition of thoughtful jangle merchants of the near past. You can almost see the fringes of their buckskin jackets as they play. They, at first, seem inimical of My Bloody Valentine et al with their layered guitar work and foggy vocals.
But, as the record progresses, think more along the lines of early Primal Scream and maybe good smattering of Spiritualized, perhaps even Stone Roses and Ride during the guitar-oriented parts. So if that stuff floats your boat, give this band a try. Scott www. But after the first few songs, it gets self-indulgent and slows down into straight ahead riff-oriented power pop.
Not bad, but it really lacks the charm of the better power pop mentioned above. Usually funny and slightly offensive, thank goodness! There are a couple catchy songs, but, for the most part, James Rickman and A. I hit fastforward on most of this. For one, this band wouldn't exist. And even though countless groups have mined the Elliott Smith-Granddaddy soft-indie-pop tunnel, I still find myself following the better ones all the way to the end. But that's not to say Slow Reader are a total Smith rip-off.
They just take so many cues from him you'd think they were his understudy. I'm a sucker for this kind of stuff, so my powerlessness should be a warning to all of you. Slow Reader are trying to get on your good side! Let them earn it, then maybe you'll call them a few days later after the pregnancy test. As a producer the Mad Prof. Aces all around, and splendidly enjoyable listening in the heat of the summer sunshine. Sly's voice on some of these songs is barely past puberty; high pitched and perfect for the style in the pre-British invasion days, and as you listen to this, you can figure out where the groove started to change and Sly started to figure out how to write some heavy funk bass lines.
Larry Graham's funky bass runs deep into the groove through most of the songs, and there are a half a dozen songs on this that were later torn down and rewritten as Family stone songs. And those aren't even the best tracks on this; it's the great early style soul stuff I really love on here. This is highly recommended for fans of everything from funk, sweet 60's soul, and anyone with any interest in Sly whatsoever.
The band broke up after one major label record, but left behind a bunch of covers that never made it to record previously. Frankly, I don't much care who wrote the songs, I'm just happy to hear Josh's voice on just about anything. His latest band, Duvall, is also quite good, but there's something special about the original lineup of the Popes that makes these songs shine in pop punk glory.
At one point they dip into pretty simplistic right wing one-liners, e. If not beginning-to-end consistent there is some quality tuneage on here. Credit must be given to Snapcase: these guys have been rough and tumble from day one, never broke through, stick to their politics, and have evolved ever-so-slightly enough that people still buy the new record.
Well, young males with anger management issues still buy the new record. And still go to the shows and do the whole wild flinging of limbs thing and fight in the parking lot. Not that Snapcase has ever vocally endorsed that behavior, just implicitly through pounding away and the screamy rah-rah vocals. Unlike certain other jokers no names mentioned of course they were able to rise above being a mere puerile-joke band.
The opening track of this, "Labor Day" is a fun organ driven number, with multi-tracked vocals leading the way, full of hooks and a Heavenly twee indie feel. They suit my style of lighting, which predominantly utilizes soft tungsten light. The reaction between the glass and the soft gauze texture of the light is stunning. This was my first experience shooting a limited series for television and my approach was no different than when I shoot a movie.
My lens, camera and lighting choices are always based on how best to tell the story. FX were incredibly supportive, giving us full creative freedom. Martin Ahlgren: One of the key aesthetic choices we made was the use of deep focus, allowing us to create levels of depth in the frame, and giving the viewer an opportunity to scan the image and find different areas of interest.
We achieved this in part by using a smaller portion of the sensor, which increases depth of field for the same field of view. We windowed the sensor to 3K, making it just 18mm across, which is right in between the size of Super35 and Super The other factor in achieving deep focus is using a small aperture on the lens. The extremely shallow focus of those images stand in stark contrast to the deep focus look of the rest of the show.
We liked the idea of using vintage glass to add some patina to the images, but many older lenses actually start performing quite normally once you stop them down significantly, like we did. We just had to watch out: in some brightly backlit scenes, with the lens all the way stopped down, we would occasionally see the actual metal iris blades inside the lens reflected onto our image, and in sharp focus. These were very useful for distorting foreground objects.
Selective focus and split focus shots were used to echo the ability in graphic novels to compose in depth but with deep focus. We occasionally used some mirrors and pieces of glass prisms close to the lens to create reflections to add to compositions. The whole camera team really embraced looking for opportunities to add all these as we shot. Xavier Grobet: We used the Alexa Mini for its versatility and size and also had in our gear a Ronin stabilizer.
The Mini was the right camera for that kind of rig and the Ronin was used instead of Steadicam for extra stability. We also rigged it on a shock absorbing rig on a Dolly and were able to roll the camera on mostly any kind of surface. The choice of lenses reflected our desire for contrast and color. The Anamorphic and the tilt and swing lenses helped us play with the visuals and be able to enhance certain shots or scenes.
We designed the show based on the graphic novel, as a lot of it had to do with perspective and volume in the frame. We wanted to be able to choose the focus in the frame, and use the aberrations and lens flares from the anamorphic lenses. How to Watch the Democratic National Convention. Sign up for Indiewire's Newsletter. For the latest news, follow us on Facebook , Twitter , and Instagram. The prosecutor overseeing the tax investigation tied to Hunter Biden will remain in his post, while the Biden administration asks other U.
It is standard practice for a new administration to request the resignation of all U. John Durham, the U. He confirmed the existence of the investigation in December after federal investigators served him with a subpoena seeking financial information.
While Biden is implicated in that investigation, he was not a specific target for criminal prosecution. Hong Kong's top court denied bail on Tuesday to media tycoon and Beijing critic Jimmy Lai, the most high-profile person to be charged under the city's national security law.
Lai had been in custody since Dec. His return to custody was related in part to Article 42 of the security law, which says that "no bail shall be granted to a criminal suspect or defendant unless the judge has sufficient grounds for believing that the criminal suspect or defendant will not continue to commit acts endangering national security".
President Biden and his aides have made it very clear he has no intention of commenting on, or even paying much attention to, former President Donald Trump's second Senate impeachment trial, which begins Tuesday. When reporters asked Biden how and whether Trump should be held accountable for his role in the Jan. Capitol, he replied, "We'll let the Senate work that out. Ignoring the Senate trial also echoes how Biden's team dealt with what Politico calls "Trumpian distractions" on the campaign trail, and, the Post notes, it "creates contrast with Trump, who at times appeared to weigh in on every controversy facing the country" and frequently watched TV during work hours.
Besides, it's unlikely anything Biden says would tip the scales toward conviction, which requires 17 Senate Republicans to break with the former president. More broadly, Biden has indicated he wants to move past the Trump era. Still, "it is unclear if the White House will, or even can, be as removed from this political drama, as Biden and his aides suggest," the Post reports.
But I think there was a cost to turning the corner as quickly as he did," Naftali added. But his impeachment lawyer Bruce Castor did, several times. Britney Spears is reportedly working on her own documentary. The U. The government will send doses to centers nationwide selected based on their proximity to vulnerable groups, such as homeless people and those with limited proficiency in English, they said.
Typically, vaccine doses would go to state governments for distribution to health centers. Businesses and shops closed in many parts of Indian-controlled Kashmir on Tuesday to mark the eighth anniversary of the secret execution of a Kashmiri man in New Delhi. Senator Josh Hawley, a bellwether of Donald Trump's "stop the steal" movement to overturn the election results, was watching the second day of impeachment proceedings against the former president from the gallery above the chamber.
The Trump loyalist, a first-term Missouri Republican, was seen at various points with his legs crossed, his feet propped up on the chair in front of him, and reviewing some sort of paperwork in a manila folder, according to several reporters with a view of the room from their seats in the press gallery.
Mr Hawley, along with Senator Ted Cruz of Texas and a handful of other Republicans, voted against the certification of Joe Biden's electoral victory on 6 and 7 January, even after a pro-Trump mob interrupted the day's proceedings with a bloody insurrection. The incident, which left the victim with minor injuries, occurred at the Bank of America branch at Marina Boulevard around p. Lindsey Graham R-S. Graham noted that Tanden, the president of CAP, referred the committee to the reviews, some of which were far from flattering about the management at the public policy organization, even when the overall experience was considered positive "Great experience, terrible management," one read.
Terrible absolutely horrible. Bernie Sanders I-Vt. People I have worked with. SenSanders says it's important to "minimize the level of personal and vicious attacks. The vast majority of Americans want another coronavirus stimulus package. Prosecutors in Thailand on Tuesday charged four prominent pro-democracy activists with sedition and defaming the monarchy for their protest activities. President Biden has slapped a raft of harsh sanctions on the military commanders of Myanmar who last week overthrew the elected civilian government.
Two teenagers have been charged in connection with the rape and death of Ee Lee in Washington Park, Milwaukee in September Violent crime: Lee, 36, was found unconscious, still breathing but with severe injuries and undressed below the waist in Washington Park by "bystanders" on Sept.
The Milwaukee County Medical Examiner's Office confirmed Lee was sexually assaulted and identified blunt force trauma to her head as the cause of her death. Dominion had to hire private investigators to chase Powell "across state lines," incurring "unnecessary expenses for extraordinary measures to effect service," the company said. A lawyer for Powell, Howard Kleinhendler, disputed Dominion's claim, telling Politico his client "regularly travels as part of her work," and in recent months "has had to take extra precautions concerning her security, which may have made serving her more difficult.
Powell had no reason to evade service as she looks forward to defending herself in court," he added. Powell requested more time to respond to Dominion's lawsuit in a court filing Monday. Dominion said it has no problem giving Powell until March 22 to respond but wanted to note its troubles reaching her for "the record.
She served for a while on Trump's legal team before he temporarily cut ties with her after a particularly off-the-rails press conference. Powell was kicked off Twitter for spreading QAnon conspiracy theories after the Jan. More stories from theweek. A Moscow court on Wednesday ordered the arrest of a top ally of Russian opposition leader Alexei Navalny, but Lithuania, where the associate lives, bluntly rejected the demand to take him into custody.
The action against Leonid Volkov by the Basmanny District Court was seen as part of an effort by authorities to squelch demonstrations demanding the release of Navalny, a top Kremlin foe who has been jailed since Jan. Volkov, a chief strategist for Navalny, was charged with encouraging minors to take part in unauthorized rallies, which could land him in jail for up to three years.
Of the 50, glaciers in the fragile Himalayan Hindu Kush range, only 24 are being monitored. Unless that changes, experts say more catastrophes are guaranteed. Egypt on Tuesday opened its Rafah border crossing with the Gaza strip until further notice, Egyptian and Palestinian sources said, a move described as an incentive for reconciliation between the main Palestinian factions, meeting in Cairo.
Leaders of Palestinian President Mahmoud Abbas's Fatah faction, which controls the West Bank, and of Hamas, the armed Islamist movement that opposes any negotiations with Israel, began Egyptian-brokered talks on Monday to address long-standing divisions ahead of elections planned for later this year. The sq km sq mile Gaza strip, controlled by Hamas, is home to around 2 million Palestinians. Former President Donald Trump apparently had his limits when it came to attacking his political rivals.
Throughout the campaign season, Trump had the final say over which campaign ads made it onto the air and which were tossed out. He made those decisions at regular White House viewing sessions, where his top White House aides and campaign officials would gather to laugh at and workshop ads, including some too "out there" even for the former president, Axios reports. A few times a month, former Trump campaign manager Brad Parscale would bring his laptop to the White House and sit "so close" to Trump that it sometimes "bothered" him, a source tells Axios.
Parscale would then play through a reel of campaign ads, including many inspired by "young, pro-Trump fans who sent their ideas" to him, Axios continues. Trump would often "burst out laughing" at some of the wilder spots, but then conclude they were too "brutal" or "weren't worth the backlash" he'd get, the source told Axios.
One subject Trump particularly avoided was Biden's inappropriate touching of women, Axios reports. At one point, Trump's campaign drew up an ad featuring clips of women who'd accused Biden of inappropriate contact, and then finished with a clip of Vice President Kamala Harris declaring "I know a predator when I see one. Live Updates: House managers argue that Trump repeatedly attacked officials over election results.
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